MUSICAL INSTRUMENTS (APPEARANCE, TYPES, FUNCTIONS) REFLECTED IN ARCHEOLOGICAL EXCAVATIONS AND WRITTEN SOURCES

Аннотация

Central Asian scholars’ treatises on music, fiction, and painting allow us to some extent restore some of the broken links in the long chain of historical development of Uzbek folk instruments that have survived to the present day. Hundreds of years have passed, and musical instruments have survived to this day, taking their place in solo, ensemble, and orchestral performance. KEYWORDS: - Fiction, musical instruments, sources, work, analysis, masnas, masna. masna, zir, and the highest hadd. The improved I NTRODUCTION double-stranded oud has retained its structure in recent times. Sherazi (1236-1311), Jami (15th In ancient times, the famous thinker of the East century), al-Husseini, Maraghi, and Ibn Sina also Sayfuddin Urmavi developed the system of wrote about the five twin strings and seven musicology. He was known as a master musician, maqams (ladas) of Ud that were tuned to the singer and master composer. Based on his quartet. A complete sketch of the oud handle experiments in Udda, the scientist stated his given in Jami’s “Musical Booklet” gives a theoretical rules. In Urmavi’s Book of Piety, the complete picture of how to set it up. According to oud is said to be the most popular and most the scientist, the existing 12 maqoms are the modern of the musical instruments. Ud had five basis of ancient mature music. Focusing on the pairs of strings and 7 status (ladi) in the order of impact of community music on listeners, he a quarter. The strings are called bam, masnas, believes it has profound spiritual and spiritual CURRENT RESEARCH JOURNAL OF PEDAGOGICSISSN 82 – 2767-3278 https://masterjournals.com/index.php/crjp CURRENT RESEARCH JOURNAL OF PEDAGOGICS 2(12): 82-89, December 2021 DOI: https://doi.org/10.37547/pedagogics-crjp-02-12-17 ISSN 2767-3278 ©2021 Master Journals Accepted 18thDecember, 2021 & Published 23thDecember, 2021 significance.[1] Rabbani and Sheikh Behduchi, wise jurist Sheikh Shamsi Rabbani and many other famous masters. The pamphlets created in the XIII-XVII centuries The testimony of Darvish Ali is also valuable in give descriptions of stringed instruments such as that most of the instruments he recorded (flute, chang, kanun, nuzkha, rubob, tanbur, as well as trumpet, dust, law, rubab, tanbur, gijjak, kobiz, descriptions of damli. doyra, drum, ud) were used in modern Darvish Ali’s (17th century) Bukhara pamphlet Uzbekistan, Tajikistan and other Central Asian on music can serve as a source of information on republics, as well as in Azerbaijan. has survived traditional instruments. It contains rare to our day and is improving. For a long time, information about the culture of music, in these musical instruments have a strong place in particular, the instruments available in the major the cultural life of the Uzbek people and have cities of Central Asia, as well as talented been widely used in their cultural life. Therefore, performers. it is appropriate to call these instruments Uzbek Darvish Ali’s treatise is a valuable source for folk instruments. In the works of Abdul Fazl studying Central Asian music of the 16th and Boyhaqi (XIV century) the names of stringed 17th centuries. The play tells the creative mizrobli (rud, barbad, tanbur), tambourine and biographies of famous singers, musicians and percussion instruments (trumpet, litavra and composers. drum) are mentioned. Darwish Ali, like his predecessors, called the It is known that in the past, the system of writing udni, which is considered the best among responses to the works of poets ("nazira") was stringed mizrob instruments in terms of its widely used in Eastern literature. Many vibrating tone, the “king” of the instruments. “Khamsa” were created in this way. In his epic According to the pamphlet, it is dedicated to Sab’ai Sayyar (one of the epics of Hamsa), Navoi Zuhra, the patron saint of dust instruments. reinterpreted the ancient legend of Bahrom Gor. The protagonist is a duster named Dilorom. The The described powder had twenty-six strings poet embodied his instrument as a symbol of and seven curtains for the performance of the music. seven maqoms. In addition, the pamphlet mentions such instruments as law, rubab, kobiz, Zahriddin Muhammad Babur (1483-1530) gijjak, music, ekbon-nay, (damli, leather), admits that Alisher Navoi in his time helped ruhavza (six-stringed nokhunli), which is many oud players to show their talents. The widespread in China.[2] names of Uzbek folk instrument performers are mentioned in the Boburnoma. Babur also Seven of the instruments described by Darwish mentions such talented performers as Shah Ali, tanbur, chang, kanun, ud, rubab, kobiz, and Kulmi-Gijjaki, Husayn Udi, Khoja Abdullah gijjak, were common instruments at that time. Marvarid Qanuni. Darvish Ali's data confirms the idea that in the During the Navoi period, the performance of nay, practice of music, the ensemble originally used ud, gijjak, kanun, karnay, surnay, drums, doyra, stringed and stringed instruments that produced and chang was